Back in 2005, Andrew Bacevich, a professor at Boston University, a longtime student of American military affairs, and a veteran of both Vietnam and the first Gulf war, came out with a book called The New American Militarism: How Americans Are Seduced by War. By my lights, it was quite wrongheaded, stridently attacking the Bush administration for imprudently promoting democracy in the Middle East at the point of a gun, which he contended was actually a disguise for advancing some narrower and more traditional geopolitical interests, and was entered into without weighing the costs and the second-order effects.
Posts For: May 28, 2007
Suppose the music world had a violinist with the elegance and eloquence of the legendary Arthur Grumiaux (1921–1986), yet all too few listeners seemed to care? This unlikely scenario is apparently the case for the Taiwan-born Cho-Liang Lin (b. 1960), long a New York City resident. Lin made a series of resplendent recordings of concertos by Jean Sibelius, Carl Nielsen, Igor Stravinsky, and Sergei Prokofiev, all conducted by Esa-Pekka Salonen—plus Camille Saint-Saëns’s Concerto No.3 led by Michael Tilson Thomas, and a French chamber music program with pianist Paul Crossley.
Lin’s tone is sunny and life-enhancing (like that of his idol, the late French violinist Zino Francescatti) in this series of CD’s made for Sony, which has since dropped Lin and allowed many of his CD’s to languish out of print. This is surely in part because Lin refuses to dabble in “crossover” music (unlike his friend the cellist Yo-Yo Ma, who remains a Sony headliner). Lin told me a few years ago with characteristic modesty: “I’d be thrilled to play jazz, blues, and bluegrass with ease, but it’s not in my blood, I’m afraid.” What is in his blood is classical music; Lin concertizes constantly and runs music festivals in Taipei and La Jolla, the latter a chamber-music extravaganza.
New Yorkers most recently heard Lin on May 22 under the auspices of the Chamber Music Society of Lincoln Center, the concerts of which have been exiled during Alice Tully Hall’s renovation to the garage-like acoustics—totally inappropriate for chamber music—of the Time Warner Center’s chilly Rose Theater, home of Jazz at Lincoln Center. Even so, alongside the accomplished violist Paul Neubauer and others in works by Ernö Dohnányi and Antonín Dvořák, Lin’s qualities of crystalline clarity and passionate involvement shone through.